I was interested enough in my prep of this piece to make a video about how the structure of the piece subverts your cadential expectations at I, and this is repaired by the long runs to close to the V chord at the end of the page.
I think compounding factors are a huge aspect of musical interest. I explain how rhythmic structures are inverted in the second half, how violated expectations are repaired or apologized for in ensuing figures, and how voice leading or counterpoint create shelves that demarcate the music even while sequencing or variations take place.
Also note how the piano tears through a bass run at the start of the page to balance out how the flute does so at the end. Bookending.